- 學位論文
從上帝已死到愛的成長：尼采與詹姆士．喬伊斯的《都柏林人》
From the Death of God to the Bildung of Love: Nietzsche and James Joyce's Dubliners
摘要
倘若詹姆士‧喬伊斯有終其一生的信仰，那便是愛。愛作為喬伊斯畢生書寫的主題，使得閱讀喬伊斯的作品就如同在閱讀他對愛的書寫。然而，現今對於喬伊斯與愛的研究大多忽略其與喬伊斯對羅馬天主教所作抗爭密不可分的事實，以及喬伊斯是在尼采所謂「上帝已死」並主張價值重估的背景下開啟對愛的書寫。這份被忽略的債務關係因而使得至今對於喬伊斯作品中的愛仍僅有片面的關照。 作為「回到青年喬伊斯」的一個嘗試，本論文將目標縮限在喬伊斯的第一本小說《都柏林人》，並主要援引其同時期的其餘書寫，盼能闡明尼采肯認生命的哲學以及對基督道德觀的批判如何啟發喬伊斯，幫助這位愛爾蘭現代主義巨擘於其創作生涯初期重新構思愛的真諦。本論文將《都柏林人》視為一部愛的成長小說，透過四個章節處理其十五篇故事中的六篇以勾勒出其大致發展過程。第一章檢視喬伊斯在〈姊妹〉如何呼應尼采在《快樂科學》所提出的「上帝已死」。此章試圖證明喬伊斯透過一位神父的死與其不被當真的話語，將敘事者小男孩自其天主教育中解放，並開啟小男孩自由探索愛的成長之旅。第二章處理孩提三部曲的其餘兩篇故事。〈邂逅〉呈現出敘事者小男孩因為無法察覺天主教幽微的權力運作機制，使得他雖極欲逃離其掌控，卻在最後赫然發現自己深陷其中寸步難行；〈阿拉比〉則透過敘事者小男孩前往慈善市集的浪漫追尋來質疑天主教義中的愛。第三章著眼於青少年與成年人兩階段，審視喬伊斯如何透過婚姻來進一步挑戰當時被社會制度所認可的愛。藉由〈伊芙琳〉，喬伊斯顯示當時既有的社會制度並非愛的避風港，反而是扼殺愛的幫兇，也因此帶出了通姦的主題。在〈憾事一樁〉中，喬伊斯則以一名禁慾藝術家對於其與一名已婚女子無疾而終的通姦自傳性回憶為例，除了示範魂骸離居的語言文字特性如何有助於顛覆既有社會秩序，亦正式引入了尼采在談論藝術創作時對於太陽神阿波羅與酒神狄俄尼索斯兩相結合的強調，為之後悅納異己之愛的到來做鋪路。第四章處理最後一篇故事〈死者〉，說明喬伊斯如何隨著他把家的概念延伸至祖國愛爾蘭，將悅納異己之愛應用至各多元的層面。一方面，本章凸顯生者與死者之間的詭異連結，說明喬伊斯如何透過鬼魂來模糊主客之間的界線來進一步實現悅納異己之愛。另一方面，本文闡明〈死者〉的結尾如何詭異地回應了喬伊斯在前述五篇故事及其〈聖堂〉一詩中所帶出的議題。藉由將《都柏林人》放置到上帝已死的脈絡中，本論文說明《都柏林人》作為愛的成長之旅，讓喬伊斯將愛爾蘭人自天主教私慾的愛中解放，並指出了喬伊斯新構思的悅納異己之愛，實為對尼采「命運之愛」的一種體現。
並列摘要
If Joyce has a church for life, its name is love. Love occupies the spotlight in Joyce’s oeuvre so stubbornly that it may be said to read Joyce’s works is to read his love words. The current scholarship, however, tend to overlook that love as one of the central themes in Joyce’s works is inextricable from his struggle against the Roman Catholic Church, and that Joyce lived in an era where Friedrich Nietzsche had propounded the death of God and transvaluation of all values. Given Joyce’s debt to the German philosopher, any foray into examining love in Joyce’s writings will not be complete without framing itself within this Nietzschean context. An attempt to return to young Joyce, this thesis focuses merely on Joyce’s first novel Dubliners and mostly refers to his other writings around the same period to inspect how the iconic Irish modernist is inspired by Nietzsche’s life-affirming philosophy and criticism of Christian morality to form his notion of love in the nascent stage of his career. To sketch out the outline of the Bildung of love in Dubliners, this thesis consists of four chapters and covers six of the fifteen tales. The first chapter examines how Joyce alludes to Nietzsche’s The Gay Science in “The Sisters” through a priest’s death and his idle words, which frees the boy narrator from his tutelage and allows him to start a freeman’s journey as a Bildung of love. The second chapter deals with the other two pieces of childhood trilogy. Whereas “An Encounter” shows how the boy narrator, in his attempt to escape from the Church school, finds himself trapped in God’s shadow as he fails to recognize the intricate power structure at work, “Araby” calls into question God’s essence and the Catholic definition of love in the sense of charity through the boy narrator’s quest for love at the charity bazaar. The third chapter delves in “Eveline” and “A Painful Case” to tease out how Joyce puts love to the test in the stages of adolescence and adulthood by placing love in marriage. In “Eveline,” Joyce shows that love is much less secured than suffocated by the social norm, and brings forth the motif of adultery as a result; presenting in “A Painful Case” an ascetic artist’s autobiographical memory about his adulterous affair with a married woman, Joyce demonstrates how the established order can be subverted through the uncanny effect of words and officially introduces to Dubliners Nietzsche’s emphasis on the union between Apollo and Dionysus to anticipate the advent of a new notion of love as hospitality. The last chapter investigates “The Dead,” the last tale in Dubliners, to elucidate how Joyce applies hospitable love on more diverse levels as he extends the idea of home to the country of Ireland. On the one hand, this chapter pays close attention to the uncanny connection among the living and the dead to elaborate on how Joyce advances and realizes hospitality through a ghost that obscures the line between host and guest. On the other, this chapter sheds light on how Joyce intends “The Dead” to respond to the issues he has brought up with an ending that uncannily echoes the preceding five tales and his critical poem “The Holy Office.” In grafting Dubliners into the God-is-dead context, this thesis concludes that Dubliners as a Bildung of love delineates a course through which Joyce liberates the Irish from the Catholic Church’s egoistic charitable love, and that the Joycean hospitable love that embraces the uncanny other within embodies what Nietzsche calls “amor fati.”